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Tech Talk

Talking about audio cables is sure fire way to start a comment war. Just this past week, I spent several hours with the top executive of a major audio company in the studio for a chat and some demonstrations.
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The discussion over at CA also included a great deal of push back on the DSD vs. PCM debate. One of the writers presented numerous lengthy comments about how modern ADC and DAC converters operate. Recall that the title of the post was "Mark Waldrep is claiming that PCM 24/96 is superior to DSD".
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My recent discussion of Sound Liaison and their DSD releases got me thinking about all of the ways that DSD recordings are produced. A subsequent email from the company, indicated that they take their original 96 kHz/24-bit PCM recordings and convert them to DSD 64 through an analog process, "We do a D/A/D transfer using high end converters" was their response.
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Musical dynamics are specified in relative terms. One passage of composition can be louder or quieter than another but that doesn’t really say how much energy is going to be delivered to the audience.
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Today's installment pushes forward on the basic theory of The Sampling Theorem, which is the basis for converting analog music signals to PCM digital versions. We talked about the idea of "proper sampling".
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I've been following a conversation at another site for the past week or so. I'm content standing on the sidelines while a couple of authorities beat up on each other. What they're arguing about comes down to theory vs. practice.
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There's more to the story of analog tape than what I've revealed in recent posts. I've written a lot about the failings of analog tape when it comes to its inherent noise floor, which hangs about 60-72 dB below the signal. That's the figure for a first generation tape recording done on a professional machine using quarter inch tape running at 15 inches per second in stereo.
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